"CLAY" OR A MODEL OF REPETITION Heleno Godoy Two things have called the critics' attention ) in James Joyce's "Clay," the tenth story in Dubliners: the symbolic duplicity of Maria, at the same time the witch and the Virgin, and the omission, when Maria sings "I Dreamt that I Dwelt," of the second stanza of the song, the hit tune from the opera The Bohemian Girl, libretto by Alfred Bunn and music by Michael William Balfe. 2 Although Joyce presents this omis- sion in an ambiguous way ("she sang again," "no one tried to show her her mistake"3), much attention has been given, in critical analyses of the story, to the stanza which is not sung, where there are references to marriage, something Maria, old and ugly, could not aspire to. 4 According to those interpreations of Joyce's short story, Maria cannot sing the second verse of the song because, "consciously or un- consciously she rejects such a direct statement of her own situation" (Hudson), "she sees herself ridiculous and rather ugly" (Noon). Her omission of the second verse of the song constitutes "a Freudian acci- dent," since Maria is "a libido-ridden old maid" (Cowan). Tindall un- derstands that the second verse of the song, "which concerns love and suitors, suits one who, lacking love and avoiding fertility, has chosen prayer and death," while Staley says that Maria "does not sing the second verse with its references to marriage and happiness, because, for the first time, she sees her life for what it is." The diversity of inter- pretations demonstrates well the difficulty introduced by Joyce in his short story. However, it is not in the continual reference to the stanza which is not sung that resides the key for a possible interpretation of "Clay," but in the ambiguity through which the story is presented, for the narrative discourse in "Clay" is also ambiguous. The first two paragraphs of the story can be taken as an example. First, there is the opposition between "the matron" and Maria. The matron had given her leave to go out as soon as the women's tea was over and Maria looked forward to her eve- ning out. The kitchen was spick and span: the cook said you 68 Ilha do Desterro could see yourself in the big copper boilers. The fire was nice and bright and on one/of the side-tables were four very big barmbracks. These barmbracks seemed uncut; but if you went closer you would see that they had been cut into long thick even slices and were ready to be handed round at tea. Maria had cut them herself. (99) Any attentive reader can detect, in this first paragraph, the signals of a re-written Cinderella story: the young woman who works very much, does everything right and, perhaps, lives a sad life. Since there is a matron, there are also the possible stepsisters ("The women"). The very choice of the name Maria is suggestive, for it reminds us of the Blessed Virgin, by tradition represented as always young. Since Maria "looked forward to her evening out" (another sign of "cinderellaty"), we wait for the reason: a ball or a dance, perhaps? A surprise, however, meets us in the second paragraph, defamiliarizing the process established by the first one. Maria was a very, very small person indeed but she had a very long nose and a very long chin. She talked a little through her nose, always soothingly: Yes, my dear, and No, my dear. She was always sent for when the women quar- relled over their tubs and always succeeded in making peace. One day the matron had said to her: — Maria, you are a veritable peace-maker! The beginning of the first sentence in this new paragraph destroys Maria's image of a "pretty girl," to insist on her ugliness. What is surprising is not the fact that Maria is "a very, very small person," an image that somehow can be brought together with that of a "pretty girl." After all, small persons can be pretty, or vice-versa. What is defamiliarizing here is the repetition of the adverb "very," and the em- phasis expressed by another adverb, "indeed," as if the narrator, con- vinced that the readers will doubt him, wants to make Maria seem even smaller than she really is. The second half of this same sentence stres- ses this impression even more, for now Maria is described as having "a very long nose and a very long chin," with the emphatic repetition of "very long." As if still unconvinced, the narrator introduces this part of the sentence as an adversative clause, which makes Maria's nose and chin even bigger. The image of a small person with a big nose and a big Heleno Godoy 69 chin would not be so strange if introduced by the conjunction "and," which would only add one information to the other (small person + big nose + big chin). However, the use of "but" in this sentence not only adds one information to the other, it also opposes this second in- formation to the previous one: small person + (antithesis) + big nose + big chin. Thus, the nose and the chin are not merely big, considering Maria's height, they also intensify the disparity between Maria's fea- tures (very small, very ugly, a witch, as Marvin Magalaner wants) and her personality (good, hard worker, peace-maker). The process of defamiliarization is then doubled, for it is introduced on the level of the story (when it defamiliarizes the Cinderella figure through which Maria is presented in the first paragraph) and on the level of the discourse (through the repetition of the adverbs and the use of the adversative "but"). The rest of the information given in the second paragraph only enlarges that opposition: the nose is given an attribute (Maia talks "a little through her nose"), by its turn also opposed to another informa- tion (although through her nose, Maria talks "soothingly"); even though able to speak, that is, to express her own ideas, Maria never really expresses them, she has only "yes" and "no" answers, whatever the situation is. This explains her description as a "peace-maker", and a "veritable" one, her ability for making peace being testable in its truth or accuracy through, for instance, a comparison: Maria opposed to the "quarrelling women." All these micro-oppositions arc a development of the macro-op- position between paragraph one, which presents Maria through her at- tributes of "(possible) beauty," "goodness," "hard worker," and para- graph two, which presents Maria through her attributes of "shortness," "ugliness," "peace-maker." These oppositions constitute a first charac- teristic of the text of "Clay," for in this short story, as well as in other works by Joyce, things are not what they seem to be: Maria seems to be fragile, but she is a hard worker; she is ugly like a witch, but she is a good person, and so on. Maria's appearance and reality are, thus, am- biguous. In fact, there are two Marias, the outward ugly, witch-like small person, and the inward good, caring, peace-making person. Through the process of defamiliarization, the narrator of "Clay" is able to establish that ambiguity which, as a matter of fact, had been in- 70 Ilha do Desterro troduced in the text of the story when the barmbracks were mentioned, for they "seemed uncut; but ... they had been cut" indeed. Here we find, for the first time, the adversative "but," the same conjunction used later in the second paragraph. The difference is that here the use of "but" is not defamiliarizing, functioning as a warning to the reader (the supposition "if you went closer"), a warning that something will strike him later: the defamiliarizing rupture that paragraph two estab- lishes in relation to the context of paragraph one. The narrator in "Clay" wants his readers to know that his text, his narrative discourse, is not what it seems to be. In order to find out what this text is, the reader must do what the narrator invites him to do as far as the barmbracks arc concerned: go "closer." But even this "go closer" is somewhat illusive. We can not forget that other phrase in paragraph one: "you could see yourself in the big copper boilers." Since the boilers are round, they will reflect only a distorted image, an am- biguous image, we could add. To go closer becomes, then, the way to disclose the text of "Clay". However, to disclose the text of "Clay" is precisely to find out its structural reason, or reasons. One of them, it has been mentioned, is the ambiguity through which Maria is presented at the beginning of the story, and which is in symmetrical relation to the ambiguity through which the fact that Maria repeats the first verse of the song "I Dreamt that I Dwelt," at the end of the story, is described. Although a series of symbolic interpretations has been proposed for that omission of the second verse of the song, no attention has been given to the fact that Maria's "mistake" is a repetition • the repetition of the first verse of Balfe's song. And this constitutes a difference which must also be ex- plained. We have already seen that two signals are common to the initial and final groups of information in "Clay," repetition and ambiguity (on the level of the story as well as on the level of the discourse). The pas- sage from one group to the other must reveal, then, the narrative coherence of the story.